2006 may well prove to be the year of the Canadian musical, according to author and composer Mel Atkey, whose book Broadway North: The Dream of a Canadian Musical Theatre has been published by Natural Heritage Books, Toronto. In fact, Britain’s New Statesman recently said, "Without belittling the redoubtable talents of Sir Elton John [Billy Elliot], he does not represent the future of musicals in the manner of, say… the Canadian duo Lisa Lambert and Greg Morrison, who swept the board at June’s Tony Awards with The Drowsy Chaperone". With a Canadian hit running on Broadway, more eyes are focused on Canada.

Could it be that, Lord of the Rings notwithstanding, the future of the musical theatre lies with the Great White North? It’s hard to predict, but according to Atkey, there have been encouraging signs. Toronto’s ScriptLab, under the direction of Jim Betts, has made a three-year commitment to developing new musicals. CanStage has, in the past decade, presented such serious works as Pélagie, Outrageous!, Larry’s Party and The House of Martin Guerre. The latter show’s creator, Leslie Arden – a protégé of Broadway maestro Stephen Sondheim – appears to be poised for an international breakthrough.

Atkey contends that, just as writers need to study the works of the Broadway "greats", it is also essential that they be aware of their own heritage. A musical theatre writer himself – his work has been presented in London and New York, where the New York Times praised his "lovely music" – he set out to do just that, and Broadway North is the result of his research. He looks at the shows we know (Anne of Green Gables, Billy Bishop Goes to War) and the ones we don’t (Mr. Scrooge, Sunshine Town, Baker Street). He also investigates the efforts to create an indigenous musical theatre, beginning with Spring Thaw, the annual revue that ran for a quarter century, begetting both Air Farce and the Charlottetown Festival.

"Broadway North: The Dream of a Canadian Musical Theatre was launched in Toronto on November 3 with a cabaret featuring Dinah Christie, Charlotte Moore, Pat Rose, David Warrack and Michael Danso.

"The musical theatre in Canada is a subject almost as big as the country. And although this hugely fecund world finally received international recognition with the fistful of Tony awards won by The Drowsy Chaperone in 2006, this is a story as long and rich as it is entertaining. Which Mel Atkey expertly points out in this beautifully produced book, replete with countless photographs. But you don't have to be an theatre expert to enjoy it since this is a fascinating history which began at least as far back as 1880, in typical Canadian style and humour, with a production of HMS Parliament, an irreverent pastiche based on Gilbert & Sullivan's HMS Pinafore. From stage offerings at Canadian universities to Spring Thaw, Billy Bishop Goes to War and Anne of Green Gables, Atkey's well-researched and delightful account, makes it easy to see why Hollywood has been permanently packed with stage-struck Canadians since the days of Quebec-born Mack Sennett." Canada Post, London (UK)

"WITH the Canadian hit musical The Drowsy Chaperone currently running on Broadway, the question begs to be asked, "Might Canadian musicals be the future of international musical theatre?" Mel Atkey, a Canadian theatre and film critic, and composer and lyricist of New York shows, offers up ample evidence in his long-overdue book Broadway North that the time for Canadian musicals is now. A resident of the U.K. since 1991, Atkey dispels the notion that musical theatre is a uniquely American form. Indeed, this thoroughly researched and well-documented history shows that German, French, English and, yes, Canadian innovations are every bit as responsible for the world's continuing love affair with musicals. Who knew, for example, that the idea for the Radio City Music Hall Rockettes was first tried out in Toronto? Or that Canada produced the world's longest-running revue? (Spring Thaw) Or that Anne of Green Gables has played more performances at the Charlottetown Festival than South Pacific did in its original Broadway production? In 36 easily digestible chapters, divided into two "acts," Atkey transports the reader through four centuries (!) of musical theatre history in Canada. From the Theatre du Neptune that entertained Champlain in 1606, through the vaudeville success of the Dumbells to the success of Anne of Green Gables (1956), Billy Bishop Goes to War (1978) and The Drowsy Chaperone, Atkey reminds Canadians that we are successfully creating musical theatre even when Americans might claim the genre as uniquely their own. Winnipeg merits mention in two chapters. The first, a chapter on Vancouver's Theatre Under the Stars and Winnipeg's Rainbow Stage, gives scant mention to our local outdoor venue. But an entire chapter is devoted to Winnipegger Victor Davies' 1971 epic Beowolf. (Davies, now based in Toronto, is currently composing an opera based on Winnipegger Maureen Hunter's play The Transit of Venus.) Atkey points out that with Winnipeg having established its theatre credentials by being the "first Canadian city to have a regional theatre, and a world-renowned ballet," it was, and is, a "fertile birthplace for a new musical." Atkey's overarching theme is that Canada itself is a "fertile birthplace" for new musical theatre. Our particular mix of ethnicities, our blend of American and British sensibilities, our unique political and geographic history, to say nothing of the success of Canadian commercial producers like Toronto's Mirvishes, are all evidence of the inevitability of the impending success of Canadian musical theatre. Atkey's premise that "if we keep trying and experimenting, reflecting our own aspect of the world, some will succeed" is inspiring to insiders and fans alike. Broadway North should be required reading for all Canadian students and practitioners of musical theatre. And for members of the general public with an interest in the arts in general, Atkey will forever dispel the notion that "Canadian musical theatre" is the ultimate oxymoron." Danny Schur, Winnipeg Free Press Danny Schur is the composer, lyricist & co-writer of the Winnipeg musical Strike!"

"A most intriguing new book written by a Canadian now working in London takes a look at the history of the development of musical theater in the nation to our north. Those who think the development of Ragtime and Kiss of the Spider Woman by Garth Drabinsky's Canadian company, Livent, or the arrival of The Drowsy Chaperone from our northern neighbor are aberrations will be fascinated to learn just how much musical theater there is in the big cities and picturesque festival sites in the federation that spans our continent from St. Johns and Halifax to Dawson and Vancouver. The stories of the creation of Anne of Green Gables and Billy Bishop Goes to War are well told as is the story of some of the venues that have hosted Canada's musical output - most notably Toronto's restored Elgin and the incredible theater that sits directly above it, The Winter Garden. A word of warning, however. Author Mel Atkey includes a ten-page appendix listing cast recordings of many of the musicals discussed in the text which may stimulate a good deal more spending by the interested reader than the (US) $23.95 price tag." Brad Hathaway, Potomac Stages